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Post by Slam_Bradley on Oct 14, 2020 21:40:54 GMT -5
It's ridiculous that we didn't get a "Martini edition" combining volumes 3 & 4 of Darwyn Cooke's Parker adaptations. They could have called it the "Manhattan Edition." I usually don't go in for those oversize hardcovers, but that material is so strong and looks so beautiful in that big size. There. I said it. It’s coming in December, complete with a new Alan Grofield comic story by Brubaker and Phillips that Westlake’s widow approved just for the book. Wooo! Wooo!!
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Post by Roquefort Raider on Oct 15, 2020 10:31:47 GMT -5
I just realized today that the calligraphy of the title for Alan Moore and Eddie Campbell's From Hell (issues #1 and 2) is exactly the same as for the header of Jack the Ripper's original letter.
That is pretty darn cool.
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Post by Icctrombone on Oct 15, 2020 13:15:04 GMT -5
I just realized today that the calligraphy of the title for Alan Moore and Eddie Campbell's From Hell (issues #1 and 2) is exactly the same as for the header of Jack the Ripper's original letter. That is pretty darn cool. Moore thinks of everything. He actually gives thumbnails to the artists to work from.
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Confessor
CCF Mod Squad
Not Bucky O'Hare!
Posts: 9,625
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Post by Confessor on Oct 16, 2020 0:01:49 GMT -5
I just realized today that the calligraphy of the title for Alan Moore and Eddie Campbell's From Hell (issues #1 and 2) is exactly the same as for the header of Jack the Ripper's original letter. That is pretty darn cool. Moore thinks of everything. He actually gives thumbnails to the artists to work from. And his scripts are dense. I have the From Hell Companion and much of Moore's script is reproduced in there; the amount of notes he writes for just one panel is pretty staggering.
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Post by berkley on Oct 16, 2020 0:08:15 GMT -5
Moore thinks of everything. He actually gives thumbnails to the artists to work from. And his scripts are dense. I have the From Hell Companion and much of Moore's script is reproduced in there; the amount of notes he writes for just one panel is pretty staggering. The sheer labour-intensity of it boggles the mind.
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Post by Roquefort Raider on Oct 16, 2020 9:59:05 GMT -5
Few people compare to Moore on that score, but I must say I am amazed by how much research went into Shanower's Age of Bronze.
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Post by The Cheat on Oct 16, 2020 13:25:03 GMT -5
It's ridiculous that we didn't get a "Martini edition" combining volumes 3 & 4 of Darwyn Cooke's Parker adaptations. They could have called it the "Manhattan Edition." I usually don't go in for those oversize hardcovers, but that material is so strong and looks so beautiful in that big size. There. I said it. So tempted to buy these, but £50 for a < 400 page book... just too much to justify
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Post by Icctrombone on Oct 24, 2020 6:21:45 GMT -5
The late Paul Ryan is severely under appreciated. I am currently reading his FF run from 359 to 375, and he does all the action and especially, draws the female form with such beauty. Such a top pro. There I said it.
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Post by Deleted on Oct 24, 2020 8:25:38 GMT -5
Agree about Paul Ryan. I loved his work on FF (even though they had terrible uniforms at that time) and Flash.
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Post by brutalis on Oct 24, 2020 9:02:58 GMT -5
I have Flash, FF, Quasar and DP7 proving Paul Ryan was top notch as artist. He made stories look great. He knew how important design and story flow from panel to panel and scene set up was in order to tell the writers story while his action provided the necessary visualizations. Ryan stands proud as being part of that group of artists who know selling the story makes for the best comic sales.
Paul Ryan art was smart, clean, smooth, easy on the eyes in being substance over flashy. He is talented, dependable and could be trusted to get his stuff in on time which for me makes him "better" than other artists. He can bump elbows with the Buscema brothers, Colan, Kane, Tuska and their likes.
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Post by Deleted on Oct 24, 2020 9:08:44 GMT -5
Paul Ryan art was smart, clean, smooth, easy on the eyes in being substance over flashy. He is talented, dependable and could be trusted to get his stuff in on time which for me makes him "better" than other artists. He can bump elbows with the Buscema brothers, Colan, Kane, Tuska and their likes. I totally agree. He was a storytelling artist rather than a pin up pose style artist. And that is the type of art I prefer.
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Post by kirby101 on Oct 24, 2020 10:13:15 GMT -5
I did not like Ryan's Fantastic Four for reasons other than Ryan. I didn't like the writing and I didn't care for Danny Bulandi's inks on Ryan. I liked Ryan's art though. And I liked his Flash. I would not put him in league with Colan, Kane and the Buscemas, but that is rarefied air indeed. I greatly enjoyed his Fing Fang Foom in IronMan.
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Post by brutalis on Oct 24, 2020 11:28:32 GMT -5
[quote author=" kirby101" source="/post/390941/thread" I would not put him in league with Colan, Kane and the Buscemas I meant more so in his storytelling and pacing abilities for telling the story. He may not have a strong/independent instantly recognizable stand out quality to his art, but his workmanship and ability were very outstanding. Why else would he be given such high profile comics like FF and Flash?
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Post by kirby101 on Oct 24, 2020 11:51:56 GMT -5
[quote author=" kirby101 " source="/post/390941/thread" I would not put him in league with Colan, Kane and the Buscemas I meant more so in his storytelling and pacing abilities for telling the story. He may not have a strong/independent instantly recognizable stand out quality to his art, but his workmanship and ability were very outstanding. Why else would he be given such high profile comics like FF and Flash? That I agree. I imagine writers liked working with him because of his storytelling abilities.
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Post by Icctrombone on Oct 24, 2020 12:01:38 GMT -5
Dude, he drew hot women too.
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